The eighth feature of Alex van Warmerdam (“Grimm,” “The Dress”) – and sold to dozens of territories by Fortissimo, including the U.S., where Drafthouse Films will release next year – “Borgman,” a part home invasion thriller, part social satire won praise from Sitges’ jury for its “ability to disturb and its permanent play between realism and fantasy.”

“Only Lovers Left Alive” copped the Special Jury prize, unanimous plaudits from local reviewers, and a mixed reception on social networks: Sitges’ fanbase usually like their genre movies more hard-boiled than Jim Jarmusch’s hipster bloodsuckers romance. While Sony Pictures Classics has acquired all North American rights, the HanWay Films-sold “Lovers” was pre-bought in Spain by Vertigo.

Championed by Quentin Tarantino – who attended its Busan Q & A to call it the best film of the year, “Big Bad Wolves,” from Israel’s Navot Papushado and Aharon Keshales, added another plaudit, winning best director.

“Wolves” international sales agent 6 Sales scored a double at Sitges, with Juno Temple taking actress for her performance in Sebastian Silva’s “Magic Magic” whose steadily but subtly goes out of her mind in Chile’s deep south. Andy Lau won actor for Johnnie To’s “Blind Detective.”

Also playing to an upbeat reaction among a 28-title Sitges 46 main competition were Manuel Carballo’s “The Returned,” Jim Mickle’s “We Are What We Are,” Jorge Dorado debut psychological thriller “Mindscape,” the first production from Jaume Collet-Serra’s Ombra Films, and Ari Folman “The Congress.”

A zombie chiller produced by Canada’s Ramaco and Barcelona’s Filmax, “The Returned” has sold to the U.S., Latin-America, Taiwan, Middle East, Korea, India, Indonesia, Singapore, Japan, Australia and New Zealand, and Canada.

While ticket sales were up 10.5% this year, fest director Angel Sala announced Thursday.

But the crisis-crunched 46th Sitges saw its budget fall 20% to $2 million,

It is not only the festival that is suffering a reality check. While its main prizes this year went to known entities, one highlight of 2013’s Sitges’ was its burgeoning line of low or micro-budgeted Spanish movies sparking critical and online praise , led by Juan Cavestany’s surreal choral comedy “Gente en sitios,” backed by “The Impossible” producers Apaches, “The Innocents” directed by a dozen students at the Escac Barcelona film school, and Pablo Larcuen’s “Hooked Up,” Spain’s first iPhone-shot feature.